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BARYSHNIKOV RETURNS TO THE STAGE

 

Here’s an interesting preview by Joel Lobenthal of Baryshnikov’s return to the stage, which happened at BAC this Wednesday. He danced three solos, along with two other men — Steve Paxton and David Neumann. Program was called, aptly, “Unrelated Solos.” I went last night, and particularly loved the last piece for Baryshnikov, a work in progress by Susan Marshall, which, to me was a meditation on how dance is meant for an audience, a performer must have a viewer or s/he is not a performer. It left a lump in my throat at the end. The other two solos for Baryshnikov were by Benjamin Millepied and Alexei Ratmansky – the Millepied another rather sobering reflection on a life spent in dance and the aging process, and the Ratmansky a rather funny retelling of composer Mikhail Glinka’s obsession with an aristocratic woman that made me realize how great an actor Baryshnikov was and made me sad that his and Ratmansky’s eras didn’t really intersect. I’d think Ratmansky could have come up with a lot of very clever, humorous work for him.

Both of the Neumann pieces were highly entertaining and witty, and the Paxton reminded me of Sara Rudner and the dance for dance’s sake / Judson Movement where the emphasis is more on the inner awareness of the dancer than strictly on the “performative.”

Anyway, don’t have much more time to write about the program right now but plan to write more this weekend. But read the Lobenthal article. And here is Macaulay on the program.

Photo by Julieta Cervantes.

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GET WELL SOON, ROBERTO!

 

There’s been a casting change for ABT’s La Bayadere tomorrow (Saturday) night. Roberto Bolle (above, with Julie Kent) is injured and is being replaced by Cory Stearns (below). This will be Cory’s debut as Solor. Veronika Part is still dancing Nikiya. I hope the injury’s nothing serious; speedy recovery Mr. Bolle!

All images from ABT‘s website.

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COMMENTS

As everyone who may have tried to post a comment in the past couple of days has probably noticed, something is awry. You can write a comment but then there’s no button to click “post” or “publish” or whatever. I wrote to Disqus and they said they’ve recently upgraded their system and my WordPress plug-in was too old to automatically upgrade. Which means I have to uninstall the old one and reinstall the new edition. Since I’m really busy right now, not to mention technologically inept, this could take me awhile (someone else installed my old plug-in of course). Anyway, I will try to reinstall everything as soon as I can. But in the meantime, if you have a comment, you can always put it on Facebook, where I almost always link to my posts here. That’s where most people have been leaving comments for about the past year now anyway. You can also @ me on Twitter, although I think Facebook is better organized for comments on a particular subject. My Facebook account is here, and Twitter is here. Sorry for the inconvenience and thank you for your patience!

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WAYNE MCGREGOR’S OUTLIER

 

 

Some photos of the new ballet, which premiered last Friday at NYCB, by Paul Kolnik. Top is of Wendy Whelan and Craig Hall, bottom is of cast with Gonzalo Garcia and Sterling Hyltin front and center.

I liked Outlier if mainly because it provided something different for New York audiences, and the dancers seemed to love dancing it, perhaps to be challenged by a different movement vocabulary. Music was to Thomas Ades and was generally sharp and made for an unsettling vibe, which the movement complemented. Cast was all principles: in addition to Hyltin, Garcia, Whelan, and Hall, there were Ashley Bouder, Maria Kowroski, Tiler Peck, Adrian Danchig-Waring, Joaquin De Luz, Robert Fairchild, and Amar Ramasar. Dancers mainly danced in male / female pairs and movement was intentionally awkward, with lots of sharp, angular lines,  jutting, hyper-extended limbs, at times rubbery-looking as a foot would go from pointed to flexed in a split second, and there were lots of kind of sliding motions in the upper body, which is uncharacteristic of ballet – classical anyway. The whole thing felt alien, ominous, something seriously awry.

Maria Kowroski, Wendy Whelan, and Robert Fairchild shone, as I think they have the bodies most suited to this kind of movement. The audience gasped audibly and some laughed in astonishment when, at one point, Maria Kowroski did an arabesque penchee with her lifted leg in attitude and she swung her leg up so fast and with such force (intentionally) that she looked like she was completely jointless. Then she wrapped her bent knee around her partner’s head — I think it was Amar but can’t remember for sure. She looked like a spider. And Robert Fairchild is really becoming one of the greatest male dancers around – at least that I know of. He can do anything and with such precision, not to mention massive amounts of stage presence.

Lighting (by Lucy Carter) was really cool as well, starting out a bright red, with an almost kaleidoscopic image on the back wall,then turning cream-colored and solid, and creating at times rather ominous shadows that highlighted the bizarre movement.

My main problem with the whole was that it didn’t really seem to go anywhere. A story never seemed to take hold and the movement and overall feeling you had remained the same throughout. Maybe I just need to see it again though.

Outlier was shown with two other, completely different ballets – Balanchine’s beautiful Serenade in which Kaitlyn Gilliland really moved me, and his Cortege Hongrois, with Sara Mearns dancing the part of the classical ballerina to splendid perfection with the very capable Jonathan Stafford as her partner, and Sean Suozzi and Rebecca Krohn ever entertaining as the Hungarian folk dancing duo.

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ABT OPENING NIGHT GALA MET SEASON 2010

 

Photo from inside the gala tent last night at American Ballet Theater’s opening night gala taken from NY Social Diary, who, sadly, don’t seem to have any pics up of Irina Dvorovenko in her beautiful red gown. It was one of the most beautiful dresses I’ve ever seen — long and many-layered but each layer seemed to be made of a light, sheer piece of fabric, so the whole thing looked light and diaphanous, though it wasn’t really see-through, just looked that way. Anyway, if anyone finds a picture of her, please let me know! Roberto Cavalli probably designed it…

Anyway, so the opening night gala was last night. It was loooong — one of the longest I’ve seen. We didn’t get out until 9:30, and it began at 6:30. It opened with an excerpt from Frederick Ashton’s Birthday Offering, of seven couples waltzing at what seemed to be a party (I haven’t seen this ballet), with Irina Dvorovenko and Maxim Beloserkovsky the main couple.

Following that was a series of introductions and thank yous by Kevin McKenzie (Art. Dir.), Blaine Trump and Caroline Kennedy (the two women were honorary chairs of the evening, along with Michelle Obama, who wasn’t there), and then David Koch who has funded the upcoming production of the company’s Nutcracker this winter.

Then, a group of ABT II dancers performed an excerpt of Edwaard Liang’s Ballo Per Sei, which was a contemporary lyrical piece, set to Vivaldi. I recognized a SLSG favorite — Irlan Silva — right away.

Then came the “Rose Adagio” from Sleeping Beauty, performed by Michele Wiles, with Sascha Radetsky, Craig Salstein, Gennadi Saveliev, and Roman Zhurbin as suitors. I don’t think I’ve ever seen this performed so well. Michele really held those balances, and she was so vivacious! Both she and Paloma Herrera, who danced a later excerpt from SB later in the evening, really embodied a young Princess Aurora very well. Michele got loads of applause – the most thus far of the evening.

Then came David Hallberg and Natalia Osipova’s Olympic version of Giselle — this an excerpt from Act II. People laughed and shook heads in amazement at Osipova’s sky-high ballons and sprightly jumps and leaps. She is really incredible. And then at the end when she jeted off and he followed her, it was really beautiful. But athletically astounding as it was, it was still moving; nearly brought tears to my eyes. I mean, how do you manage to do athletic feats like that and make it seem like you’re a light, other-worldly spirit instead of nearly exhausting yourself to death? I don’t know if I’ll ever be able to see anyone else dance Giselle again besides Osipova now. I saw a couple of etoiles from the Paris Opera Ballet perform it at the Guggenheim a few months ago and all I could think was, “wait, where’s the ear-high develope?” and “that arabesque penchee is nowhere near 6:00!” Natalia Osipova has spoiled me.

Then came Veronika Part and Marcelo Gomes doing my favorite gala fare, the Black Swan pas de deux. They were magnificent. Veronika kept doing these equally astounding crazy penchees, and she was so tantalizing with all of her faux White Swan poses! She was really a bad tease! And perfect fouette sequence for her, and his jetes and all — they got loads of applause too (oh, and so did David and Natalia).

Then was the beautiful Thais Pas de Deux by Ashton, danced by Diana Vishneva and Jared Matthews. I recently saw this rehearsed at a studio visit by Hee Seo and Sascha Radetsky, and it looks so different onstage far away and with costumes and all. It looked a lot more like MacMillan than I remembered. I loved it; Diana and Jared did very well but I still can’t wait to see Hee and Sascha. For her gala gown, Diana was wearing a very interesting-looking Japanese-styled dress.

Ending the first half of the evening was the finale of Tharp’s Brahms-Hayden Variations, danced by a group of seven couples, replete with trademark Tharpian flash and crazy lifts and high energy. Can’t wait to see this now either. I have in my notes, “who is dancing with Hammoudi?!” When I looked at my program, I saw it was Stella Abrera. She is really back and really on!

First dance after the intermission was the “Kingdom of the Shades” scene from La Bayadere.  Beautiful as always though it seemed some of the dancers were not completely in unison.

Then came Paloma Herrera and Cory Stearns dancing the Awakening Pas de Deux from Sleeping Beauty, which was followed by the wedding pas de deux from that ballet danced by Herman Cornejo and Xiomara Reyes. I particularly loved Paloma. As I said before, she and Michele Wiles really embodied the sweet, youthful spirit of Aurora. Paloma and Cory danced very well together. They seemed like a real couple.

Then was my second favorite excerpt of the night — the Act III Pas de Deux from Neumeier’s Lady of the Camellias, danced by a very passionate Roberto Bolle (who received a load of applause when the curtain initially opened on him) and a very dramatic Julie Kent. Every excerpt of this ballet makes me want to see the whole. Not much longer now — it begins next week, and I can’t wait. I think they received the greatest applause of the night. Audience really went wild, and it’s partly because he’s so internationally famous, but also I think because they just did so well with it. This seems to be a ballet that requires both good acting and excellent partnering ability because some of those lifts… The pianist, Soheil Nasseri, came onstage too for a bow at the end. He was very good.

Next to last was the Act III Pas de Deux from Don Quixote, danced by ABT audience faves Ethan Stiefel and Gillian Murphy. There was a slight mishap with the lift where he throws her up, she does a crazy twist in the air and then he catches her and the fish dive wasn’t hands free, but they each danced spectacularly on their own. It looked at one point like she was doing quadruple pirouettes between some of her fouettes, and he nearly kicked his leg to his forehead during some of his jumps and then did a flashy little jump during his fouette sequence that had the audience screaming.

The evening ended on a modern note  with David Parsons’s Caught, danced by Angel Corella, who, expectedly did an exquisite job. The audience, many of whom hadn’t seen that dance before, seemed so spellbound they almost forgot to clap right away. Angel’s so cute 😀

And finally, everyone who danced came out onstage at the end and took a little bow while the orchestra continued to play. Dancers still in costume — Daniil Simkin, Craig Salstein, Gennadi Saveliev come to mind — did a flashy trick, the “Shades” did a little dance in unison, and then dancers who danced in the first half came out in party gown (which is how I fell in love with Irina’s dress).

Fun evening. During intermission I checked my cell-phone and found a text from a friend who saw me sitting in orchestra from the side par terre, where he was sitting. So I texted him to meet me afterward, and we went for martinis, clam chowder and crab cake sandwiches at Ed’s Chowder House across from the Plaza, my favorite post-ballet place to go since it replaced Center Cut mid-NYCB fall season. They have a TV in the bar, and I was happy that the Yankees were still on. So I saw A-Rod hit his game-tying home-run… But how my friend ever saw me in that enormous Met crowd I’ll never know. Though many arrived late, house ended up being packed.

Oh, and I almost forgot: at the beginning of his speech, Kevin McKenzie introduced several dancers – each representing an era of ABT (this being the company’s 70th anniversary)- who all came out and took a bow. Included were Lupe Serrano, Baryshnikov, Nina Ananiashvili (who got a lot of applause), Alessandra Ferri, Natalia Makarova, and cutie Frederick Franklin, who gave a little speech as well. Isabella Rosellini was in the audience, a few rows down from me. I didn’t recognize anyone else in the audience.

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PURO DESEO, PNB AT THE GUGGENHEIM, BALANCHINE LEOTARDS AND ROBBINS & ASTAIRE

 

Photo of Luciana Achugar’s Puro Deseo, from NYTimes, taken by Chad Batka.

You guys, I am really sorry but there are several things I’ve seen lately that I don’t have time to write about. So, I’m linking to other writers’ reviews. The first is Luciana Achugar’s exploration of the occult, Puro Deseo, which premiered recently at the Kitchen. I generally agree with NYTimes’ Gia Kourlas that Achugar needs to go a bit deeper with this piece, but this is a strong start, and parts of the performance I found very compelling, such as when, toward the beginning, Achugar is wearing a large black cape and moving back and forth in a diagonal pattern across the stage, and every time she backs up, toward a light projector, she casts an ominous shadow that eventually eats up the entire theater. Very cool lighting effect that achieved the result she was aiming for. At points her partner, Michael Mahalchick, would contort his body in ways that were both creepy and unsettling but also ultimately human. At times her movement would mirror his, and at times she’d react off of him, sometimes writhing on the ground seemingly in erotic pleasure. This is what I thought needed to be developed a little further – the connection between eroticism and the occult, but regardless, ever since Tere O’Connor’s Nothing Festival a couple of years ago, Achugar has become one of my favorite experimental artists and I always love seeing her new work.

Second, is Pacific Northwest Ballet’s Works & Process event at the Guggenheim over the weekend. I loved seeing James Moore and Carla Korbes again, and especially Seth Orza. Moore’s performance of a beginning excerpt of Balanchine’s Prodigal Son, and Korbes and  Orza dancing an excerpt from Balanchine’s Apollo were, to me the highlights of the evening. But here is Oberon with far more detail on the evening than I can provide right now.

Also, last week I saw two NYCB programs – one comprised of some of Balanchine’s most famous leotard ballets (Symphony in Three Movements is always a favorite of mine, especially in contrast with Concerto Barocco), and an evening of Robbins during which I was blown away, once again, by Gonzalo Garcia as the poetic figure in his Opus 19 / The Dreamer. And, call me a goof (because everyone else seems to hate it), but I always love to see Robbins’ I’m Old Fashioned, with the dancers performing a balletic interpretation of Fred Astaire and Rita Hayworth as a movie excerpt of the latter two dancing plays on a screen erected at the back of the stage.  Anyway, here is Macaulay on the Balanchine program and Roslyn Sulcas on the Robbins.

Review coming soon of Wayne McGregor’s new Outlier, although I said some of what I have to say already on Twitter. I’m actually really enjoying tweeting about performances. I find Twitter a useful device for paring down sentences to the essentials. Of particular use to verbose people like me anyway 🙂

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PHOTOS OF DEMA DANCE COMPANY’S FIRST SEASON

Here are some photos, all by Kim Max, of DeMa Dance Company‘s recent debut season, at the Alvin Ailey Citigroup Theater. There were six dances — three choreographed by the company’s founding sisters — Despina and Matina Simegiatos, and three by visiting choreographers TOKYO + TOKYO the company, Yesid Lopez, and of course So You Think You Can Dance‘s Sonya Tayeh. My favorite piece was Zaloggos, by the Simegiatos sisters, which depicted the true story of a group of Greek women, who, during the Greek Revolution in 1803, trapped by the enemy and refusing to yield to slavery, danced then threw themselves off a cliff. It was harrowing but beautiful and the movement was kind of a combination of Martha Graham and Greek folk dance. Very original, and very meaningful. Like Alvin Ailey’s work, you could tell it came from the heart. (The Simegiatos sisters are Greek-American and they told us at the beginning of the program that DeMa refers both to the beginnings of their first names and to a Greek word that means a parcel holding something very precious). My second favorite piece was When the Love Enters, the Light Shines, by Tayeh, set to Bjork music, and whose central duo was performed by Billy Bell and Jaqlin Medlock.

Anyway, here are the photos:

The first two are from Zaloggos:

 

 

These are from the Tayeh piece:

 

 

 

 

These are from The Feminine, by TOKYO + TOKYO, which was a lyrical dance with upbeat music that seemed to be about a different kind of love and reminded me in places of Matthew Bourne’s Swan Lake:

 

 

 

This is from Laser, by the Simegiatos sisters, a thrilling, very modern piece set to percussive music that was at times slightly unsettling (music by Craig Armstrong) in which the dancers kind of zig-zagged between two red electrical “wires”. DeMa has a very good set of dancers by the way; they’re especially strong with modern movement.

 

This is from Methods by the Simegiatos sisters, set to Philip Glass music, which consisted of both modern movement and balletic pointe work, and was by turns lyrical and rather intense, almost threatening at times. It was abstract but seemed to be about the group versus the individual.

 

And these are from the last piece, Yes, I Do, a sweet, funny, at times almost Chaplinesque story of a wedding by Yesid Lopez.

 

 

 

It was a very good program — lots of variety, original movement and themes, and excellent dancing. DeMa is small but I think this is definitely a company to watch for.

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ABT AT 70 AT THE GUGGENHEIM

Last night American Ballet Theatre put on a little celebration of its 70th anniversary and gave a little preview of its upcoming Met season (which begins next Monday, May 17th) at the Guggenheim, as part of the museum’s Works and Process events. Dancers from each decade of ABT’s existence — Susan Jaffe, Susan Jones, Donald Saddler, Lupe Serrano, and Rachel Moore – spoke briefly about what the company was like back in the day, and then there was (happily) a great deal of dancing.

Stella Abrera, Marian Butler, Jared Matthews and Sascha Radetsky performed the Lovers’ Quarrel from Ashton’s The Dream (based on Shakespeare’s Midsummer Night’s Dream), followed by Xiomara Reyes and Alexei Agoudine dancing the Titania / Bottom pas de deux from that ballet. I’ve never seen Ashton’s version of this ballet — only Balanchine’s — and the choreography looks so rich, richer to me, in a way, than Balanchine’s (though I know a lot of NYCB fans will balk at that). So, I’ll be looking forward to that. Audience cracked up, of course.

Then, Abrera, Isabella Boylston, and Yuriko Kajiya performed the Shades Trio from La Bayadere. Stella in particular took my breath away. Veronika Part and Eric Tamm then did a gorgeous pas de deux from John Neumeier’s Lady of the Camellias (which I’ve never seen before and now can’t wait to; it appears to be his version of Manon). Though everyone from ABT looks near perfect, everyone just pales in comparison to Veronika. I just can’t ever take my eyes off her. After last night I’m really really looking forward to her in Lady.

Then came the pas de deux between romantic sailor guy and the girl in pink from Robbins’ Fancy Free, which was danced well by Sascha Radetsky and Isabella Boylston (who has probably developed a fan base among Natalie Portman haters). Judging by the applause and a few words I overheard, the audience really took to them. Part and Abrera then performed the La Bayadere fight scene between Nikiya and Gamzatti (Abrera is an excellent Gamzatti by the way), and the program ended with the final Don Quixote pas de deux danced sweetly by Yuriko Kajiya and Jared Matthews.

As far as the discussion, interesting points to me were when Jaffe said of all the characters she’s danced, she felt closest to Tatiana in Eugene Onegin (I wasn’t a regular ABT-goer when Jaffe danced and didn’t know they’d ever done that ballet — made me desperately want them to bring it back), Lupe Serrano mentioned that there used to be only one cast per ballet (which we’ve talked about before on this blog as being perhaps preferable to the current system of rotating dancers since it’d be more likely to, like opera, create stars), and Saddler (who began with the company in 1939 and performed in its inaugural season) talked a bit about founder Lucia Chase, who wanted a “star system” for the company, and what it was like to dance ballet at a time when there really wasn’t any here. He said Fokine was the greatest influence on him, as, like Tudor (later a great influence on him as well), each step was reflective of character.